*Life's limitations and their resolution. *Loss and resolve-[time passing]. *being observed or 'gazed at' by others.
*Being encased in a snow globe. *The idea of viewing from afar. *A snowy landscape with a single person on a collapsed wheelchair. *The dancers own lives and personal stories. *The art of Goran Djurovic from the 'Unkown Secrets' collection.
*Task setting *Collaboration *Improvisation, filming and selection *Unison of textures. *Workshops.
Scene 1: Tension Scene 2: Violent 'rock & roll', tragedy Scene 3: Shock, sadness, loss & resolve.- slow build up towards a climax.
Symbolises a picture frame. Links to the stimulus of Djurovic's paintings.
Links to the stimulus of being encaged in a snow globe. Made out of hole punch paper, dropped down from above at the end of scene 2.
Set- Display Cabinet & Headless Mannequin
Straight out of a Djurovic painting, linking to the stimulus. Cabinet was filled with snow as it represented the snow globe in scenes 1&2.
Inspired by a Djurovic painting which also has a stripped backdrop.
'Gliding & Tumbling'
A trio where David and Amy control Laura's wheelchair. The trio is full of ebb, flow, suspension and release. It involves counterpoint, unison and complement. It was pieced together by improvisations filmed. Trust was vital. Can feel vulnerable. The initial idea was the joy of playing in a snow covered landscape.
'Gliding & Tumbling' Lighting
A cold blue wash with 2 spot lights downstage right and centre. Also a white side light downstage left. and Dave is lit with a warm spotlight with a low intensity upstage left.
The blue wash creates a blue wintery mood which contributes to the snow globe stimulus. The white spotlights and white side lights highlight the dancers.Dave is emphasised as separate to the trio, looking on and observing in the warm spotlight. This supports the choreographic intention of being observed or ' gazed at' from a distance.
The dancers created a series of 7 tableaux of family portraits. They pose sometimes proud, sometimes relaxed, but always with an every changing focus. They used old family portraits, black and white, poised and serious.
Family Portrait Lighting
The wash intensifies to a deeper blue. And the downstage right and centre spotlights fade out. The portraits are lit from two spotlights downstage right, focused towards upstage left.